Last version (#25) from the original (#1) – same doc.

Diffused 33-Segment Pixel Matrix
a.k.a. 'D33SPM' {by dpla}

7- to 33-segment progression
(bitmap-only step-by-step)***



FONT MAPPING =

Abbreviations:
. 'S' Segment (#)
. 'L' Layer (I2O [Groups: 1/23/45/67])
. 'C' Character (ANSI)*
. 'U' Unicode (00+HEX)
. 'P' Position (Clockwise) [Matrix V1]**
. 'I' In/Inner
. 'O' Out/Outer


I to O table:

.S L C .U P..
==-=-=-==-===
00 1 0 30 Mdl
-- - - -- ---
01 2 1 31 N 
02 2 2 32  E
03 2 3 33 S 
04 2 4 34  W
-- - - -- ---
05 3 5 35 NE
06 3 6 36 SE
07 3 7 37 SW
08 3 8 38 NW
-- - - -- ---
09 4 9 39 NE
10 4 A 41 SE
11 4 B 42 SW
12 4 C 43 NW
-- - - -- ---
13 5 D 44 N 
14 5 E 45  E
15 5 F 46 S 
16 5 G 47  W
-- - - -- ---
17 6 H 48 NNE
18 6 I 49 NEE
19 6 J 4A SEE
20 6 K 4B SSE
21 6 L 4C SSW
22 6 M 4D SWW
23 6 N 4E NWW
24 6 O 4F NNW
-- - - -- ---
25 7 P 50 NNE
26 7 Q 51 NEE
27 7 R 52 SEE
28 7 S 53 SSE
29 7 T 54 SSW
30 7 U 55 SWW
31 7 V 56 NWW
32 7 W 57 NNW



NOTES =

* So that the FULL MATRIX can be revealed
 by enabling all the segments (33 layers)
 via "0123456789ABCDEFGHIJKLMNOPQRSTUVW" 
(or any distribution of this full string).

**
Now you may 'fontstruct' my 25TH VERSION…
(the "MARS:BENZ" test showcases this one).

***
The expected final & plain VECTOR DESIGNS
could simply begin with rotating squares…
Even in this early and geometric step #0,
all the 33 segment areas would be similar.

33?!
1 BIT too many… try removing S00 yourself
(or merge by adding a 'separating value').

Use the glyph SPACING as usual in x and y
(even by kerning the variable width font).

I started drawing many V1 GLYPHS on April
(+ several ANIMATIONS for matrix testing).

The inherited 7-SEGMENT matrix is a LIMIT
(e.g. no added border for the diacritics).



URL =

fontstruct.com/fontstructions/show/1505159



LICENSE =

You may NOT use D33SPM commercially
{OR ask for my written permission}.



2018
0126 PNG
0320 TXT
0401 TXT UPD
dpla
 

I created this font as part of my project for UWE. My font was originally based around the word sharp which lead on to looking at the strcutures of glass when broken. I built my font outwards trying to use the centre of broken glass as the middle, almost like a point of impact. When building it further the font almost had this kaleidoscope effect so I tried to make the sides symmetrical but still having the main focus on the centre.